Art Blakey: Mission Eternal, Vol. 2

While some people have insinuated that nothing was really happening in jazz during the 1970s, this reissue should provide evidence to the contrary. Art Blakey, always working with younger talent, found a way to stay current in an era dominated by fusion, without compromising his integrity. While there are electric keyboards as well as electric guitars on this album, they are used in a style that's consistent with Blakey's credo. Mission Eternal demonstrates a fluidity and openness that helped to define that era's music.

By the opening drum phrases on "Gertrude's Bounce, you can instantly tell it's Blakey. The melody is fairly straight-ahead. Tenor saxophonist Carter Jefferson launches into an impassioned solo, then trumpeter Woody Shaw lends high-note bop phrases to the mix. The underlying sound of Tony Waters on congas adds something a little different to the mix than what typical Jazz Messenger units have done.

The title track by pianist Cedar Walton starts off as a vamp with the saxophone, piano and guitar in unison. Then trumpeter Shaw comes in and states the melody and takes the first solo in an almost dark tone. Electric guitarist Michael Howell follows with some neat plucking, but not just straight bebop. He seems to find notes that fit the groove and evoke the sounds of fashionable guitarists (at the time), such as Larry Coryell.

Jon Hendricks handles the vocals on "Moanin', the ever popular Bobby Timmons tune. While the Messenger units are not known for featuring vocalists, Hendricks fits in just fine here. Shaw takes a short solo that would make Lee Morgan proud, and Hendricks does a scat solo which proves why he was one of the best in the idiom. Pianist Walton shows how the electric piano does not need to be in the exclusive domain of fusion musicians.

"Love: For the One That You Can't Have, composed by Woody Shaw, definitely sounds different from the other pieces. It is more modern in phrasing and chord voicing. Shaw doesn't sound like anyone else here; you can tell he is getting more into his own style. Blakey always keeps the piece moving, and his fills and bombs underscore the music. Walton's keyboards are a little more elastic here, and very sympathetic to the tenor of the piece.

Track Listing: Gertrude's Bounce; Siempre Mi Amor; Mission Eternal; Moanin'; A Chant For Bu; One For Trane; Along Came
Betty (Instrumental); Along Came Betty; Without A Song; Love: For The One That You Can't Have; Fantasy In D.

Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone

Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.